One of the most recent and innovative branches, that has grown to be one of the most popular of the baile funks, doesn't even have a specific name, but carries idiosyncratic traits: the new montagens (mixes) have faster tempos, with lyrics that don't attempt to carry a meaning, with heavy use of repetition (at times it's just one sentence or interjection) and frantic editing, always with the help of a MPC. Currently, the rise of this next revolution of funk carioca is taking place online. DJs are sharing their montagens on Youtube and creating new material online.http://youtu.be/C--xbL8nTeU (Phabyo DJ performs at Castelo das Pedras, one of the most tradicional bailes of Rio de Janeiro) In this "new funk," the role of the MCs is being set aside, and in return, DJs have conquered a special status. A good beat created by a DJ can be sung with several different lyrics, and probably they will all have the same success on the floor, "proibidona" or not. In a way, recent funk carioca is as innovative as it has never been before, even if compared to its "world invasion," led by Diplo and singer MIA in 2005, when the genre was presented to the western world on a mainstream level. Back then it sounded like a hybrid of so many influences and music references that it didn't affect the funk carioca communities directly. In a way, it lacked some truth or "cred." But not this time. Now that these three big waves of mainstream attention have passed (we are now living tecnobrega and sertanejo universitário waves now), funk carioca has continued to stand as a consolidated genre, with its loyal followers making up much of its fanbase. This has allowed the style the freedom to experiment. Funk carioca isn't here to make hits anymore, but instead seems poised to push the limits of its style into electronic music. Maybe only in the last few years the boldness seen in increasingly erotic lyrics and criminal apologist is finding its way into the melodies. This is possibly pulling funk carioca more than ever into the electronic music universe. Funk carioca has finally earned its "pancadão" nickname. In chronological order, the vídeos demonstrate a little of this growing evolution of funk carioca, from the early days to the montagem revolution: Feira de Acari, MC Batata (1990) http://www.youtube.com/watch?v=k8XhKNlBsok Me Leva, Latino (1994) http://www.youtube.com/watch?v=N190Xi7vxg4 Rap da Felicidade, Cidinho e Doca (1995) http://www.youtube.com/watch?v=qKkQjwji8LM Conquista, Claudinho e Buchecha (1996) http://www.youtube.com/watch?v=DOZM3L-bkzw Cerol na Mão, Bonde do Tigrão (2001) http://www.youtube.com/watch?v=rdfrVyCYiGM Eguinha Pocotó, Mc Serginho (2003) http://www.youtube.com/watch?v=IF4ssCkvKBE Boladona, Mc Tati Qubra-Barraco (2004) http://www.youtube.com/watch?v=USO_Dfu-6Yg Adultério, Mr. Catra (2006) http://www.youtube.com/watch?v=f4lO1e9rGGU Créu, Mc Créu (2007) http://www.youtube.com/watch?v=WMbzrfA6mTA Sou Foda, Avassaladores (2009) http://www.youtube.com/watch?v=45U2fjfru1E Casa das Prima, Mc Luan (2011) http://www.youtube.com/watch?v=D40biDNAwkI Parado Na Esquina, DJ Metralha (2011) http://youtu.be/Uj-PBhk4JIk Treinamento do Bumbum, Peixe DJ (2012) http://www.youtube.com/watch?v=15NVdC4BsOQ Bruna Senos is a Brazilian journalist from Rio de Janeiro currently working at Multishow's website. She still believes in music, Santa Claus and AOL installation CDs.